Ed­in­burgh In­ter­na­tional Fes­ti­val: the­atre high­lights

The Week Middle East - - Arts - (For tick­ets, see www.eif.co.uk or call 0131-473 2000)

Flight This “small but mirac­u­lous” show from the Scot­tish tour­ing com­pany Vox Mo­tus is essential view­ing, said Maxie Szal­win­ska in The Sun­day Times. The au­di­ence is cor­ralled into in­di­vid­ual booths for a refugee saga fol­low­ing two or­phaned broth­ers as they cross Europe from Afghanistan. The stag­ing is “re­volv­ing dio­rama meets graphic novel” in a way never seen be­fore, and has “an ex­quis­ite fresh­ness of vi­sion”. Church Hill The­atre and Stu­dio, un­til 27 Au­gust.

Krapp’s Last Tape Per­formed by Barry McGovern, “one of Ire­land’s finest ac­tors”, and di­rected by Michael Col­gan, who has just re­tired after 33 years as the head of Dublin’s Gate The­atre, this is Beck­ett’s one-man mas­ter­piece in ex­pe­ri­enced hands and done “mas­ter­fully”, said Ann Tren­e­man in The Times. It’s the first pro­duc­tion from the new the­atre com­pany that the pair have set up to­gether, and it is clearly a “labour of love”. Church Hill The­atre and Stu­dio, un­til 27 Au­gust.

Martin Creed’s Words and Mu­sic In this “en­dear­ing, ex­pos­ing show” full of “tick­lish hu­mour”, the “imp­ish” Turner Prizewin­ning artist im­pro­vises with a mi­cro­phone and gui­tar and sings a few songs, said Lyn Gard­ner in The Guardian. The re­sults “veer from the in­con­se­quen­tial to the pro­found”. Creed’s show won’t be for ev­ery­one, said Ann Tren­e­man in The Times, and it cer­tainly wasn’t for me. It is, in short, “drivel”: a “bit of chat in­ter­spersed with some hi­lar­i­ously bad songs”. The Stu­dio, un­til 27 Au­gust.

Meet Me at Dawn Zinne Har­ris’s new play, in which two women called Robyn and He­len meet on a beach after a boat­ing ac­ci­dent, is a “21st cen­tury clas­sic” full of pas­sion­ate po­etry, love and de­spair, said Joyce McMil­lan in The Scots­man. In­spired in part by the leg­end of Or­pheus and Eury­dice, it is an 85-minute “sym­phony of loss, long­ing and oc­ca­sional wild com­edy”. Orla O’Lough­lin’s “pitch-per­fect” pro­duc­tion boasts “ex­quis­ite” per­for­mances. Tra­verse The­atre, un­til 27 Au­gust.

The Di­vide (Parts One and Two) Alan Ay­ck­bourn’s “Hand­maid’s Tale- es­que” pro­jec­tion of a plague-rav­aged dystopian fu­ture – where the sexes are strictly seg­re­gated – has “many nice ironies and per­for­mances”, says Michael Billing­ton in The Guardian. But the two-part epic drama of­ten strains the au­di­ence’s pa­tience over its six-hour run­ning time. “You can see where Ay­ck­bourn is tak­ing us. It just takes a long time to get there.” King’s The­atre, un­til 20 Au­gust; then The Old Vic, Lon­don, 30 Jan­uary-10 Fe­bru­ary 2018.

Neve McIn­tosh in Meet Me at Dawn: “ex­quis­ite”

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